2021/22 concert season at the

Southbank Centre’s Royal Festival Hall

Concert
programme
Principal Conductor Edward Gardner Principal Guest Conductor Karina Canellakis
Conductor Emeritus Vladimir Jurowski Patron HRH The Duke of Kent KG
Artistic Director Elena Dubinets Chief Executive David Burke
Leader Pieter Schoeman supported by Neil Westreich

Southbank Centre’s Royal Festival Hall Contents

Saturday 6 November 2021 | 7.30pm 2 Welcome
LPO news
3 On stage tonight
4 London Philharmonic
In Bluebeard’s Castle Orchestra
5 Leader: Pieter Schoeman
6 Edward Gardner
Haydn 7 Ildikó Komlósi
Symphony No. 90 in C major, Hob. I:90 (25’) 8 John Relyea
9 Programme notes
Interval (20’) 11 Recommended recordings
13 Sound Futures donors
Bartók 14 Thank you
Bluebeard’s Castle: opera in one act (59’) 16 LPO administration

Sung in Hungarian with English surtitles

Edward Gardner
conductor

Ildikó Komlósi
mezzo-soprano

John Relyea
bass

The timings shown are not precise and are given only as a guide.
CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle
Welcome to the
Southbank Centre
We hope you enjoy your visit. We have a Duty Manager
available at all times. If you need any information or help,
please ask a member of staff.
Eating, drinking and shopping? Take in the views over
food and drinks at the Riverside Terrace Cafe, Level 2,
Royal Festival Hall. Visit our shops for products inspired
by our great cultural experiences, iconic buildings and
central London location.
Explore across the site with Beany Green, Côte
Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas,
Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Slice,
Spiritland, wagamama and Wahaca.
If you would like to get in touch with us following
your visit, please write to: Visitor Contact Team,
Southbank Centre, Belvedere Road, London SE1 8XX,
or email customer@southbankcentre.co.uk
We look forward to seeing you again soon.
A few points to note for your comfort and enjoyment:
Photography is not allowed in the auditorium.
Latecomers will only be admitted to the auditorium if
there is a suitable break in the performance.
Recording is not permitted in the auditorium without
the prior consent of the Southbank Centre. The
Southbank Centre reserves the right to confiscate video
or sound equipment and hold it in safekeeping until the
performance has ended.
Mobiles and watches should be switched off before the
performance begins.
Enjoying your visit safely
As we continue our 2021/22 LPO season, the
health and wellbeing of our audiences, musicians
and staff remains our top priority, and all concerts
and events will have appropriate safety measures in
place in accordance with Government guidelines:
the Southbank Centre’s website will be kept up-to-
date with all the latest information. To find out more,
visit southbankcentre.co.uk/visit or speak to
a member of Southbank Centre staff.
Out of respect for our staff and visitors, we ask that
you continue to wear a face covering inside our
venues if you are able to do so. Thank you.
2
LPO news
Bernard Haitink 1929–2021
We were deeply saddened to
learn of the death of conductor
Bernard Haitink on 21 October
2021. As the London Philharmonic
Orchestra’s Principal Conductor
from 1967–79, Haitink presided
over some of its most memorable
and exciting years, and was much
loved by musicians and audiences
alike. LPO President Martin Höhmann said: ‘The LPO
was privileged to enjoy such a long and remarkable
relationship with Bernard Haitink. He will be fondly
remembered as one of the LPO’s best-loved Principal
Conductors, with whom the Orchestra achieved some
of the greatest successes in its history.’
A full tribute will follow in a future publication.
Tour to Turkey
The Orchestra has just returned from a tour to Turkey,
where we gave two concerts with conductor Robin
Ticciati and pianist Francesco Piemontesi. The
first performance marked the opening of the new
Presidential Symphony Orchestra Hall in the capital
Ankara, and this was followed by a concert at the Atatürk
Cultural Center in Istanbul.
Next week (13 November) we embark on our next tour,
travelling to Germany with conductor Edward Gardner
and pianist Jan Lisiecki. We’ll give concerts in seven
cities across the country, before returning to London for
our next Royal Festival Hall concert on 24 November.
LPO Offstage podcast: new series
Our popular LPO podcast, ‘LPO Offstage’, is now in its
third series. Hosted by presenter and MOBO Award-
winning saxophonist YolanDa Brown, the weekly
podcast takes you behind-the-scenes of the LPO,
bringing you closer than ever to the world of orchestral
music. Episodes this series include insights into sharing
a desk as a string player, the role of the Orchestra’s
Librarians, and a look at how streamed concerts come
together for broadcast.
Find LPO Offstage on Apple Podcasts, Spotify, Acast,
or wherever you listen. lpo.org.uk/podcast
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

On stage tonight

First Violins Martin Wray Clarinets Bass Trombones

Pieter Schoeman* Leader Stanislav Popov Benjamin Mellefont Principal Lyndon Meredith Principal
Chair supported by Neil Westreich Alistair Scahill Thomas Watmough Simon Minshall
Vesselin Gellev Sub-Leader Martin Fenn Paul Richards*
Kate Oswin Julia Kornig
Chair supported by Friends of the
Jill Valentine Offstage Trombones
Orchestra E-flat Clarinets David Whitehouse
Lasma Taimina Thomas Watmough Principal Duncan Wilson
Chair supported by Irina Gofman &
Mr Rodrik V. G. Cave
Cellos Chair supported by Roger Greenwood
Amos Miller
Minn Majoe Kristina Blaumane Principal Benjamin Mellefont Merin Rhyd
Chair supported by Bianca & Stuart Roden
Catherine Craig
Pei-Jee Ng Co-Principal
Yang Zhang
Francis Bucknall
Bass Clarinet Tuba
Chair supported by Eric Tomsett
Laura Donoghue Paul Richards* Principal
Thea Spier Michael Levis Guest Principal
Katalin Varnagy David Lale
Chair supported by Sonja Drexler Gregory Walmsley Bassoons Timpani
Amanda Smith Elisabeth Wiklander Jonathan Davies Principal
Simon Carrington* Principal
Martin Höhmann Tom Roff Chair supported by Sir Simon Robey
Chair supported by Victoria Robey OBE
Chair supported by Chris Aldren Helen Rathbone Gareth Newman
Jeremy Cornes
Laura Ayoub Sibylle Hentschel Dominic Tyler
Thomas Eisner Simon Estell*
Percussion
Caroline Sharp Double Basses Andrew Barclay* Principal
Nilufar Alimaksumova
Kevin Rundell* Principal Contrabassoon
Jamie Hutchinson Henry Baldwin Co-Principal
Sebastian Pennar Co-Principal Simon Estell* Principal
Keith Millar
Hugh Kluger
Second Violins George Peniston Horns
Tania Mazzetti Principal Tom Walley Harps
John Ryan* Principal
Chair supported by Countess Dominique Laura Murphy Rachel Masters Principal
Mark Vines Co-Principal
Loredan
Charlotte Kerbegian Anne Denholm
Emma Oldfield Martin Hobbs
Sam Rice Oliver Johnson
Helena Smart
Nynke Hijlkema Gareth Mollison Celeste
Fiona Higham Flutes Catherine Edwards
Chair supported by David & Yi Buckley Juliette Bausor Principal Trumpets
Marie-Anne Mairesse Chair supported by Caroline, Jamie
& Zander Sharp Paul Beniston* Principal Organ
Kate Birchall Anne McAneney* Richard Gowers
Hannah Grayson
Eriko Nagayama David Hilton
Stewart McIlwham*
Ashley Stevens Ruth Shaddock
Clare Childs
Sioni Williams * Holds a professorial
Nancy Elan appointment in London
Sarah Thornett Piccolos Offstage Trumpets
Joseph Maher Stewart McIlwham* Principal Colin Clague
Sheila Law Clare Childs William O’Sullivan
Tom Nielsen Assistant Conductor
Tony Cross
Violas Oboes Edmund Whitehead
David Quiggle Principal Ian Hardwick* Principal
Richard Waters Co-Principal Trombones
Alice Munday
Mark Templeton* Principal
Surtitles
Ting-Ru Lai
Chair supported by William & Alex Created by Paula Kennedy,
Katharine Leek
Cor Anglais de Winton operated by Sophie
Benedetto Pollani Benny Vernon Rashbrook.
Naomi Holt Sue Böhling* Principal
Chair supported by Dr Barry Grimaldi

3
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle
London Philharmonic Orchestra
© Benjamin Ealovega
One of the finest orchestras on the international stage,
the London Philharmonic Orchestra balances a long and
distinguished history with its reputation as one of the
UK’s most forward-looking ensembles. As well as its
concert performances, the Orchestra also records film
soundtracks, releases CDs and downloads on its own
label, and reaches thousands of people every year
through activities for families, schools and local
communities.
The Orchestra was founded by Sir Thomas Beecham
in 1932, and has since been headed by many great
conductors including Sir Adrian Boult, Bernard Haitink,
Sir Georg Solti, Klaus Tennstedt and Kurt Masur.
In September 2021 Edward Gardner became the
Orchestra’s Principal Conductor, succeeding
Vladimir Jurowski, who became Conductor Emeritus
in recognition of his transformative impact on the
Orchestra as Principal Conductor from 2007–21.
Karina Canellakis is the Orchestra’s current Principal
Guest Conductor and Brett Dean is the Orchestra’s
current Composer-in-Residence.
The Orchestra is resident at the Southbank Centre’s
Royal Festival Hall in London, where it gives around
40 concerts each season. It also enjoys flourishing
residencies in Brighton, Eastbourne and Saffron Walden,
and performs regularly around the UK. Each summer
4
the Orchestra takes up its annual residency at
Glyndebourne Festival Opera, where it has been
Resident Symphony Orchestra for over 50 years.
The Orchestra also tours internationally, performing to
sell-out audiences worldwide. In 1956 it became the first
British orchestra to appear in Soviet Russia and in 1973
made the first ever visit to China by a Western orchestra.
The London Philharmonic Orchestra has recorded many
blockbuster film scores, from The Lord of the Rings
trilogy to Lawrence of Arabia, East is East, The Hobbit:
An Unexpected Journey and Thor: The Dark World.
It also broadcasts regularly on television and radio, and
in 2005 established its own record label. There are now
over 100 releases available on CD and to download.
Recent highlights include Shostakovich’s Symphony
No. 11 and Mahler’s Symphony No. 8 under Vladimir
Jurowski, and a commemorative box set of historic
recordings with former Principal Conductor Sir Adrian
Boult.
In summer 2012 the London Philharmonic Orchestra
performed as part of The Queen’s Diamond Jubilee
Pageant on the River Thames, and was also chosen to
record all the world’s national anthems for the London
2012 Olympics. In 2013 it was the winner of the RPS
Music Award for Ensemble.
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

Pieter Schoeman
Leader

The London Philharmonic Orchestra is committed to

inspiring the next generation of musicians, and recently
celebrated the 30th anniversary of its Education and
Community department, whose work over three
decades has introduced so many people of all ages to
orchestral music and created opportunities for people
of all backgrounds to fulfil their creative potential.
Its dynamic and wide-ranging programme provides
first musical experiences for children and families;
offers creative projects and professional development

© Benjamin Ealovega
opportunities for schools and teachers; inspires talented
teenage instrumentalists to progress their skills; and
develops the next generation of professional musicians.

The Orchestra’s work at the forefront of digital

technology has enabled it to reach millions of people
worldwide. Over the pandemic period the LPO further
Pieter Schoeman was appointed Leader of the London
developed its relationship with UK and international
Philharmonic Orchestra in 2008, having previously been
audiences through its ‘LPOnline’ digital content: over
Co-Leader since 2002. He is also a Professor of Violin at
100 videos of performances, insights, and introductions
Trinity Laban Conservatoire of Music & Dance.
to playlists, which collectively received over 3 million
views worldwide and led to the LPO being named
Pieter has performed worldwide as a soloist and
runner-up in the Digital Classical Music Awards 2020.
recitalist in such famous halls as the Concertgebouw in
From Autumn 2020 the Orchestra was delighted to be
Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall
able to return to its Southbank Centre home to perform
in St Petersburg, Staatsbibliothek in Berlin, Hollywood
a season of concerts filmed live and streamed free of
Bowl in Los Angeles and London’s Royal Festival Hall.
charge via Marquee TV.
As a chamber musician he regularly appears at
London’s prestigious Wigmore Hall. His chamber music
September 2021 saw the opening of a new live concert
partners have included Anne-Sophie Mutter, Veronika
season at the Royal Festival Hall, featuring many of the
Eberle, Patricia Kopatchinskaja, Boris Garlitsky, Jean-
world’s leading musicians including Sheku Kanneh-
Guihen Queyras, Yannick Nézet-Séguin and Martin
Mason, Klaus Mäkelä, Renée Fleming, Bryn Terfel
Helmchen.
and this season’s Artist-in-Residence, Julia Fischer.
The Orchestra is delighted to be continuing to offer
Pieter has performed numerous times as a soloist with
digital streams to selected concerts throughout the
the London Philharmonic Orchestra. Highlights have
season through its ongoing partnership with
included an appearance as both conductor and soloist
Intersection and Marquee TV.
in Vivaldi’s Four Seasons at the Royal Festival Hall, the
Brahms Double Concerto with Kristina Blaumane, and
the Britten Double Concerto with Alexander Zemtsov,
which was recorded and released on the LPO Label to
lpo.org.uk
great critical acclaim.

Pieter has appeared as Guest Leader with the BBC,

Barcelona, Bordeaux, Lyon and Baltimore symphony
orchestras, and the Rotterdam and BBC Philharmonic
orchestras.

Pieter’s chair in the LPO is generously supported by Neil

Westreich.

5
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle
Edward Gardner
Principal Conductor, London Philharmonic Orchestra
© Benjamin Ealovega
Edward Gardner began his tenure as Principal
Conductor of the London Philharmonic Orchestra
in September 2021; he is also Chief Conductor of the
Bergen Philharmonic, a position he has held since
October 2015.
During the 2021/22 season Edward conducts the
London Philharmonic Orchestra in eleven concerts
at the Royal Festival Hall, including five UK premieres.
In September 2021 he and the LPO appeared at the
Enescu Festival in Bucharest, and later this month they
will undertake an extensive tour of Germany.
Edward opened the Bergen Philharmonic 2021/22
season with a performance of John Adams’s
Harmonium. Further highlights include an all-Stravinsky
programme and new commissions by Thomas Larcher,
Ryan Wigglesworth and Rebecka Ahvenniemi.
Following recent tours to Berlin, Munich, Amsterdam
and at the BBC Proms and Edinburgh International
Festival, the orchestra will perform in Barcelona and
Paris this season.
In demand as a guest conductor, the previous two
seasons saw Edward debut with the Bavarian Radio
Symphony Orchestra, New York Philharmonic,
Chicago Symphony Orchestra, Philadelphia Orchestra,
San Francisco Symphony, Rundfunk-Sinfonieorchester
Berlin, Royal Stockholm Philharmonic and Wiener
Symphoniker; while returns included engagements with
the Gewandhausorchester Leipzig, Montreal Symphony,
Deutsches Symphonie-Orchester Berlin, Philharmonia
Orchestra and Orchestra del Teatro alla Scala di Milano.
He also continued his longstanding collaborations with
6
the City of Birmingham Symphony Orchestra, where he
was Principal Guest Conductor from 2010–16, and the
BBC Symphony Orchestra, whom he has conducted at
both the First and Last Night of the BBC Proms.
Music Director of English National Opera for ten years
(2006–15), Edward has an ongoing relationship with
New York’s Metropolitan Opera, where he has
conducted productions of La damnation de Faust,
Carmen, Don Giovanni, Der Rosenkavalier and Werther.
In London he has future plans with the Royal Opera
House, where he made his debut in 2019 in a new
production of Káťa Kabanová and returned for Werther
the following season. The 2021/22 season will see
Edward make his debut with the Bayerische Staatsoper
in a new production of Peter Grimes. Elsewhere, he has
conducted at La Scala, Chicago Lyric Opera, Den
Norske Opera and Ballet, Glyndebourne Festival Opera
and Opéra National de Paris.
A passionate supporter of young talent, Edward founded
the Hallé Youth Orchestra in 2002 and regularly
conducts the National Youth Orchestra of Great Britain.
He has a close relationship with The Juilliard School of
Music and with the Royal Academy of Music, who
appointed him their inaugural Sir Charles Mackerras
Conducting Chair in 2014.
Born in Gloucester in 1974, Edward was educated at the
University of Cambridge and the Royal Academy of
Music. He went on to become Assistant Conductor of
the Hallé and Music Director of Glyndebourne Touring
Opera. His many accolades include being named Royal
Philharmonic Society Award Conductor of the Year
(2008), an Olivier Award for Outstanding Achievement in
Opera (2009) and receiving an OBE for Services to
Music in the Queen’s Birthday Honours (2012).
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

Tonight's soloists

Ildikó Komlósi
mezzo-soprano (Judith)

at the Arena di Verona, in roles including Carmen,

Amneris (Aida), Santuzza (Cavalleria rusticana) and
Laura (Luisa Miller). In 2006, together with tenor José
Cura, she was awarded the Arena Award. In 2009 she
sang Santuzza with great success at the Metropolitan
Opera. This was followed by Strauss’s Die Frau ohne
Schatten in 2013. In 2016 she received the prestigious
Kossuth Prize from the Hungarian government. She
continues to sing around the world, performing at major
festivals and theatres such as the Hungarian State
Opera House, the Verbier Festival, the BBC Proms, and
with the Boston Symphony Orchestra in its home city.

Ildikó Komlósi recently sang Kundry in Parsifal at the

Deutsche Oper in Berlin; Bluebeard’s Castle under
Alan Gilbert at the Teatro alla Scala; and Azucena in
Hungarian mezzo-soprano Ildikó Komlósi studied at the II trovatore at the Mikhailovsky Theatre in St Petersburg.
Franz Liszt Academy of Budapest and subsequently She sang Amneris in the opening performance of Aida
on the specialist opera courses at the Teatro alla Scala in at the Arena di Verona, Bluebeard’s Castle in Boston;
Milan and London’s Guildhall School of Music & Drama. Zemlinsky’s Der Zwerg at the Teatro di San Carlo in
She was the winner of the Pavarotti International Naples; and Asie in Francesconi’s Trompe-la-Mort at
Competition in 1986, and made her debut in Verdi’s the Opéra National de Paris.
Requiem alongside Luciano Pavarotti under the baton of
Lorin Maazel. She subsequently launched a successful
career on the world’s great stages, making further
debuts at the Frankfurt Staatsoper and the Wiener
Staatsoper, and in 1990 she sang in her first production
at the Teatro alla Scala. During the following years she
conquered North and South America and the Far East.
She is frequently invited to the world’s greatest opera
houses including the Metropolitan Opera in New York,
the Royal Opera, Covent Garden, the Teatro alla Scala in
Milan, the Deutsche Oper Berlin and the Dresden
Semperoper, as well as in Munich, Tokyo, and other
Italian cities.

Ildikó Komlósi last appeared with the London

Philharmonic Orchestra in September 2017, as the
Sphinx in a concert performance of Enescu’s Oedipe
under Vladimir Jurowski at the Royal Festival Hall.
Among her other past successes are a Zeffirelli
production of Aida, opening the La Scala season in
2006, and another great Aida in Covent Garden, directed
by Robert Wilson and conducted by Antonio Pappano.
In the last five years she has been invited to sing annually

7
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle
Tonight's soloists
John Relyea
bass (Bluebeard)
© Shirley Suarez
John Relyea has appeared on many of the world’s great
operatic stages including the Royal Opera House,
Covent Garden, New York’s Metropolitan Opera, the
San Francisco Opera (where he is an alumnus of the
Merola Opera Program and a former Adler Fellow), the
Lyric Opera of Chicago, the Opéra national de Paris, the
Teatro alla Scala, the Bayerische Staatsoper, the Vienna
State Opera, the Mariinsky Theatre, the Canadian Opera
Company, and in Dresden, Madrid and Barcelona. His
roles have spanned a vast range of repertoire including
the title roles in Verdi’s Attila, Massenet’s Don Quixote,
Rachmaninoff’s Aleko and Mozart’s Le nozze di Figaro.
In summer 2021 John Relyea sang the role of King Marke
in Wagner’s Tristan und Isolde at Glyndebourne Festival
Opera with the London Philharmonic Orchestra and
Robin Ticciati. Other roles include Zaccaria in Nabucco,
Bertram in Robert le diable, Pagano in I Lombardi alla
prima crociata, Raimondo in Lucia di Lammermoor,
Colline in La bohème, Don Alfonso in Lucrezia Borgia,
Don Basilio in Il barbiere di Siviglia, Alidoro in
La cenerentola, Giorgio in I puritani, Enrico in Anna
Bolena, Banquo in Macbeth, Garibaldo in Rodelinda,
Méphistopélès in both Faust and Le damnation de
Faust, the Four Villains in Les contes d’Hoffmann,
King Phillip in Don Carlo, Caspar in Der Freischütz,
Nick Shadow in The Rake’s Progress, Collatinus in
The Rape of Lucretia, The Water Sprite in Rusalka and
King René in Iolanta.
8
In concert, he has performed with major orchestras
including the Berlin Philharmonic, New York
Philharmonic, Vienna Philharmonic, NDR
Radiophilharmonie, Cleveland and Philadelphia
orchestras, as well as the London, Chicago, Boston,
Dallas and San Francisco symphony orchestras.
He has appeared at the Tanglewood, Ravinia, Salzburg,
Edinburgh, Lucerne and Mostly Mozart festivals, and at
the BBC Proms.
John recently returned to the Opéra national de Paris for
Bluebeard’s Castle, and to the Teatro dell’Opera di Roma
as Claggart in Billy Budd. Other recent highlights include
his debut at the Teatro di San Carlo in Naples as Fiesco
in Simon Boccanegra; concerts with the New York
Philharmonic, Boston Symphony, Netherlands Radio
Philharmonic and Sydney Symphony orchestras, the
Orchestre de Paris and the Orchestra Sinfonica
Nazionale della RAI; Billy Budd in Oslo; a concert
performance of Nabucco at the NTR ZaterdagMatinee
in Amsterdam; and Meyerbeer’s Les Huguenots at the
Semperoper in Dresden. Future engagements include
Don Carlos and Lady Macbeth of Mtsensk at the
Metropolitan Opera, and Verdi’s Requiem at the Teatro
Regio di Parma.
John Relyea’s recordings include Verdi’s Requiem with
Sir Colin Davis and the LSO (LSO Live); Mozart’s
Idomeneo and La clemenza di Tito with Sir Charles
Mackerras and the Scottish Symphony Orchestra (EMI);
Mahler’s Symphony No. 8 with Sir Simon Rattle and the
City of Birmingham Symphony Orchestra (EMI); and the
Metropolitan Opera’s DVD productions of Don Giovanni,
I puritani, Die Meistersinger von Nürnberg (Deutsche
Grammophon), Macbeth and Rusalka (Metropolitan
Opera HD Live Series).
John Relyea is the winner of the 2009 Beverly Sills Award
and the 2003 Richard Tucker Award.
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

Programme notes

Joseph Haydn
1732–1809

Symphony No. 90 in C major, Hob. I:90

1788

1 Adagio – Allegro assai

2 Andante
3 Menuetto: Allegretto
4 Finale: Allegro assai

Though Louis XIV had been a generous patron of the
arts during his 72-year reign over France, his death in
1715 signalled the return to Paris of the royal court,
housed at the Palace of Versailles since 1682. This move
helped revitalise the capital’s flagging music scene in
the decades that followed; newly formed concert
societies – largely funded and hosted by Freemason
lodges – took on particular cultural significance,
allowing larger audiences access to the latest music.
One such organisation was the Concert de la Loge
Olympique, founded by the Count d’Ogny Claude-
François-Marie Rigoley in 1782 when a prominent
society with which he had previously been involved –
Concert des Amateurs – had folded the previous year.
Concert de la Loge Olympique commanded the loyalty
of a number of affluent patrons, and soon had at its
disposal an orchestra to rival any in the city. As such, the
Count was able to aim high with his commissions and he
had soon placed an order for six symphonies from none
other than the Austrian master of the genre, Joseph
Haydn. The resulting ‘Paris’ symphonies (Nos. 82–87),
as they are now known, premiered during the course of
1786, further whetting the appetite of a public who had
been devouring his orchestral works on a regular basis
for more than two decades; Haydn the man had
remained firmly in situ as Kapellmeister to the Hungarian
noble family of Esterházy since his late twenties, but his
music had been disseminated far and wide, its
compelling quality cementing his place as Europe’s pre-
eminent composer.
So popular did the ‘Paris’ symphonies prove that the
Count soon commissioned a further trilogy of works
(Nos. 90–92) in 1788, likely premiered the following year
in the final months before the outbreak of the French
Revolution that would change the political, social and
cultural landscape of the city forever. This C major work
announces itself in austere fashion, measured gestures
precipitating a gently paced introduction that soon trips
forward into a jovial sway, vivacious scalic figures
propelling the movement onwards. The Andante retains
a dignified air throughout, solo-led variations on a good-
humoured theme interceded by two surprisingly terse
episodes. This contrast of moods is subtly sustained
through the ensuing Menuetto, the bounding dance
occasionally hesitating in momentary doubt. The finale
suffers from no such anxieties, full orchestra pushing
avidly towards the finish line – when it has truly been
crossed, though, is anyone’s guess …
Programme note © Richard Powell

Interval – 20 minutes
An announcement will be made five minutes before the end of the interval.

9
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

Programme notes

Béla Bartók
1881–1945

Bluebeard’s Castle (opera in one act)

1911, rev. 1912, 1918 & 1921
Libretto by Béla Balázs (1884–1949)

Ildikó Komlósi (mezzo-soprano) – Judith

John Relyea (bass) – Bluebeard

Prologue (spoken)
Introduction
First Door: Bluebeard’s Torture Chamber
Second Door: The Armoury
Third Door: The Treasury
Fourth Door: The Garden
Fifth Door: Bluebeard’s Vast and Beautiful Domains
Sixth Door: The Lake of Tears
Seventh Door: Bluebeard’s Wives

Bartók’s only opera occupies a unique place in
20th-century musical theatre. Predominantly dark-hued,
static and with only two characters, it has, nevertheless,
astonishing theatrical power; shorn of irrelevant
ornamental action, this extraordinary work concentrates
on the relationship between Judith and Bluebeard, the
gradual exposure of his possessions, domains and, most
importantly, psyche. The libretto, by writer Béla Balázs,
is rich in symbolism and plots the course of Judith’s
persistence in revealing the inner landscape of a
tortured soul. Although based on the 17th-century
fairytale of Charles Perrault, Balázs’s libretto is more akin
to the near-Expressionist world Maeterlinck’s Ariane et
Barbe-bleu.
Even apart from any sympathy Bartók may have had with
the subject of the opera, there was another reason why
he would have been attracted to the libretto. Balázs
consciously based his verse on Hungarian folk ballads
with continuous eight-syllable lines with Bartók (and
also, it seems, Kodály) in mind. Since 1904 Bartók had
taken a profound interest in Hungarian folksong and had
already been on several collecting expeditions; Balázs’s
deliberate intent to evoke the strength of the folk ballad
was bound to appeal to the young composer. Rather
than allowing the regularity of the verse to constrict his
style of word-setting, Bartók takes advantage of the
convention using it to create a hypnotic, almost dream-
like effect, although in places he consciously extends

10
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

rhythmic values to produce asymmetrical variety.

But the astonishing richness of the opera resides to a Recommended recordings
large extent in the tension between Bartók’s consistently
imaginative handling of the orchestra and the elemental of tonight’s works
quality of his predominantly syllabic word-setting.
Haydn: Symphony No. 90 in C major
Bartók composed the score in the spring and summer of The Hanover Band | Roy Goodman (Helios)
1911, returning to revise it in 1912, 1918 and 1921. An or
external reason that impelled Bartók to compose the Austro-Hungarian Haydn Orchestra | Ádám Fischer
opera was a competition in Hungary for a one-act opera. (Brilliant Classics)
Bartók did not win the competition and it was seven
years before it had its premiere. Even after this, Bartók: Bluebeard’s Castle
performances in Hungary were rare for many years Michelle DeYoung | John Relyea
owing to the unacceptability of Balázs, with his Bergen Philharmonic Orchestra | Edward Gardner
communist credentials, to the political regime. In the (Chandos)
second half of the century, however, the reputation of
Bluebeard’s Castle has increased vastly, and it is now
seen as a key work in Bartók’s output.

For all its qualities, Bluebeard’s Castle is an early work.

The influence of Strauss, and, more important for the
later composer, Debussy, is certainly apparent. The
opera’s Hungarian dimension, however, takes it well
beyond the realms of mere imitation. Intervals such as
the fourth and the angular augmented fourth suffuse the
melodic and harmonic language; combined with the
pointing of the words, the sound-world of the opera
becomes peculiarly personal.

Bartók’s command of atmosphere is also extraordinary.

After the spoken prologue, which poses the question
whether the stage on which the drama is set is before or
behind our eyes, Bartók suggests with spare, unison
lines the gloom and isolation of the hall of Bluebeard’s
castle, with its seven doors. As each of the doors is Have you checked out our LPO podcast,
opened, the torture chamber, the armoury , the treasury, LPO Offstage yet? Now in its third series,
captured in startlingly evocative orchestral colours, the each weekly episode takes a look at a
contents become corrupted by the presence of blood, different aspect of behind-the-scenes life
symbolised in the music by a harsh minor second. The in the LPO, bringing you closer than ever to
opening of the fifth door, unexpectedly on Bluebeard’s the world of orchestral music.
domains, is cue for a vast procession of clear major
chords to come stalking across the score. From here Hosted by MOBO Award-winning saxophonist
there is a decline towards darkness and quiet. The sixth and presenter YolanDa Brown, in conversation
door reveals a lake of tears and the last conceals the with LPO musicians and staff.
three wives whom Judith must join. The previous wives
Find LPO Offstage free on Apple Podcasts,
were found in the morning, noon and evening. Judith is
Spotify, Acast, or wherever you listen.
proclaimed the bride of night as she joins the others
leaving Bluebeard alone in the gathering darkness.
lpo.org.uk/podcast
Programme note © Jan Smaczny

11
 Edward Gardner
More concerts this season with
our new Principal Conductor

10 Nov 2021 2 Apr 2022

Landscapes and
Love Songs
Warm-hearted miniatures
by Grieg are followed by
Sibelius’s Second Symphony,
and Schumann’s Piano
Concerto with Jan Lisiecki.
Generously supported by Victoria Robey OBE.
9 Mar 2022
Sheku Kanneh-Mason
Shostakovich’s rarely heard
masterpiece of a cello concerto
is teamed with works by Judith
Weir, Daniel Kidane and Bartók.
19 Mar 2022
Bryn Terfel sings
Brahms
Bryn Terfel brings power to
Brahms’s late songs, alongside
music by Schoenberg and
Mendelssohn.
Generously supported by Victoria Robey OBE.
A German Requiem
Music by Messiaen and
Lili Boulanger is followed by
Brahms’s German Requiem,
featuring soloists Christiane
Karg and Roderick Williams.
27 Apr 2022
War and Peace
Vaughan Williams’s Fifth
Symphony and Britten’s
Sinfonia da Requiem alongside
the UK premiere of Brett Dean’s
Cello Concerto performed by
Alban Gerhardt.
Generously supported by The Vaughan Williams
Charitable Trust.

lpo.org.uk
 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign.
Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched
pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create
a £2 million endowment fund supporting special artistic projects, creative programming and education work
with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over.
For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle
Arts Council England
Dunard Fund
Victoria Robey OBE
Emmanuel & Barrie Roman
The Underwood Trust
Welser-Möst Circle
William & Alex de Winton
John Ireland Charitable Trust
The Tsukanov Family Foundation
Neil Westreich
Tennstedt Circle
Valentina & Dmitry Aksenov
Richard Buxton
The Candide Trust
Michael & Elena Kroupeev
Kirby Laing Foundation
Mr & Mrs Makharinsky
Alexey & Anastasia Reznikovich
Sir Simon Robey
Bianca & Stuart Roden
Simon & Vero Turner
The late Mr K Twyman
Solti Patrons
Ageas
John & Manon Antoniazzi
Gabor Beyer, through BTO
Management Consulting AG
Jon Claydon
Mrs Mina Goodman & Miss Suzanne
Goodman
Roddy & April Gow
The Jeniffer & Jonathan Harris
Charitable Trust
Mr James R.D. Korner
Christoph Ladanyi & Dr Sophia
Ladanyi-Czernin
Robert Markwick & Kasia Robinski
The Maurice Marks Charitable Trust David Ross & Line Forestier (Canada)
Mr Paris Natar Carolina & Martin Schwab
The Rothschild Foundation Dr Brian Smith
Tom & Phillis Sharpe Lady Valerie Solti
The Viney Family Mr & Mrs G Stein
Dr Peter Stephenson
Haitink Patrons Miss Anne Stoddart
Mark & Elizabeth Adams TFS Loans Limited
Marina Vaizey
Dr Christopher Aldren
Mrs Pauline Baumgartner Jenny Watson
Lady Jane Berrill Guy & Utti Whittaker
Mr Frederick Brittenden
David & Yi Yao Buckley Pritchard Donors
Mr Clive Butler Ralph & Elizabeth Aldwinckle
Gill & Garf Collins Mrs Arlene Beare
Mr John H Cook Mr Patrick & Mrs Joan Benner
Mr Alistair Corbett Mr Conrad Blakey
Bruno De Kegel Dr Anthony Buckland
Georgy Djaparidze Paul Collins
David Ellen Alastair Crawford
Christopher Fraser OBE Mr Derek B. Gray
David & Victoria Graham Fuller Mr Roger Greenwood
Goldman Sachs International The HA.SH Foundation
Mr Gavin Graham Darren & Jennifer Holmes
Moya Greene Honeymead Arts Trust
Mrs Dorothy Hambleton Mr Geoffrey Kirkham
Tony & Susie Hayes Drs Frank & Gek Lim
Malcolm Herring Peter Mace
Catherine Høgel & Ben Mardle Mr & Mrs David Malpas
Mrs Philip Kan Dr David McGibney
Rehmet Kassim-Lakha de Morixe Michael & Patricia McLaren-Turner
Rose & Dudley Leigh Mr & Mrs Andrew Neill
Lady Roslyn Marion Lyons Mr Christopher Querée
Miss Jeanette Martin The Rosalyn & Nicholas Springer
Duncan Matthews QC Charitable Trust
Diana & Allan Morgenthau Timothy Walker CBE AM
Charitable Trust Christopher Williams
Dr Karen Morton Peter Wilson Smith
Mr Roger Phillimore Mr Anthony Yolland
Ruth Rattenbury
The Reed Foundation and all other donors who wish to
The Rind Foundation remain anonymous
Sir Bernard Rix

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 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year.
Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the
Orchestra both on and off the concert platform.

Artistic Director’s Circle
Anonymous donors
Mrs Aline Foriel-Destezet
Mrs Christina Lang Assael
Sir Simon & Lady Robey OBE
Orchestra Circle
The Candide Trust
William & Alex de Winton
Mr & Mrs Philip Kan
Neil Westreich
The American Friends of the
London Philharmonic Orchestra
Principal Associates
An anonymous donor
Richard Buxton
Gill & Garf Collins
In memory of Brenda Lyndoe
Casbon
In memory of Ann Marguerite
Collins
Hamish & Sophie Forsyth
The Tsukanov Family
Associates
Anonymous donors
Steven M. Berzin
Ms Veronika Borovik-
Khilchevskaya
Irina Gofman & Mr Rodrik V. G.
Cave
The Lambert Family Charitable
Trust
Countess Dominique Loredan
Mr & Mrs Makharinsky
George Ramishvili
Stuart & Bianca Roden
Julian & Gill Simmonds
In memory of Hazel Amy Smith
Deanie & Jay Stein
Gold Patrons
An anonymous donor
Chris Aldren
David & Yi Buckley
David Burke & Valerie Graham
David & Elizabeth Challen
In memory of Allner Mavis
Channing
Sonja Drexler
Peter & Fiona Espenhahn
Marie-Laure Favre-Gilly de
Varennes de Beuill
Mr Roger Greenwood
Malcolm Herring
John & Angela Kessler Geoff & Meg Mann
Dame Theresa Sackler Harriet & Michael Maunsell
Scott & Kathleen Simpson Marianne Parsons
Eric Tomsett Dr Wiebke Pekrull
Andrew & Rosemary Tusa Mr Gerald Pettit
The Viney Family Mr Roger Phillimore
Guy & Utti Whittaker Gillian Pole
Mr Michael Posen
Mr Christopher Querée
Silver Patrons Sir Bernard Rix
Mrs A Beare Mr Robert Ross
The Rt Hon. The Lord Burns GCB Priscylla Shaw
Bruno De Kegel Patrick & Belinda Snowball
Jan & Leni Du Plessis Charlotte Stevenson
Ulrike & Benno Engelmann Mr Robert Swannell
Simon & Meg Freakley Tony & Hilary Vines
Pehr G Gyllenhammar Mr & Mrs John C Tucker
The Jeniffer & Jonathan Harris Mr & Mrs John & Susi Underwood
Charitable Trust Marina Vaizey
Catherine Høgel & Ben Mardle Jenny Watson CBE
Wg. Cdr. & Mrs M T Liddiard OBE Mr John Weekes
JP RAF Christopher Williams
Sofiya Machulskaya
Mrs Elizabeth Meshkvicheva
The Metherell Family Principal Supporters
Andrew Neill Anonymous donors
Peter & Lucy Noble Dr R M Aickin
Marianne Parsons Mr Mark Astaire
Tom & Phillis Sharpe Sir John Baker
Laurence Watt Tessa Bartley
Grenville & Krysia Williams Mr Geoffrey Bateman
Mrs Julia Beine
Bronze Patrons Mr Anthony Boswood
Dr Carlos Carreno
Anonymous donors Mr Julien Chilcott-Monk
Michael Allen Mr & Mrs Stewart Cohen
Dr Manon Antoniazzi David & Liz Conway
Julian & Annette Armstrong Mr Alistair Corbett
Roger & Clare Barron Andrew Davenport
Mr Philip Bathard-Smith Mr Simon Douglas
Sir Peter Bazalgette Mr Richard Fernyhough
Mikhail Noskov & Vasilina Bindley Mrs Janet Flynn
Mr Bernard Bradbury Mrs Ash Frisby
Sally Bridgeland Mr Stephen Goldring
In memory of Julie Bromley Mr Daniel Goldstein
Desmond & Ruth Cecil Mr Milton Grundy
Mr John H Cook Prof. Emeritus John Gruzelier
Howard & Veronika Covington
John & Sam Dawson
Nerissa Guest & David Foreman
Michael & Christine Henry
Cameron & Kathryn Doley Mark & Sarah Holford
David Ellen Ivan Hurry
Christopher Fraser OBE Per Jonsson
Virginia Gabbertas MBE Alexandra Jupin & John Bean
David & Jane Gosman Richard & Briony Linsell
Mr Gavin Graham Paul & Brigitta Lock
Mrs Dorothy Hambleton Mr Peter Mace
J Douglas Home Nicholas & Lindsay Merriman
The Jackman Family Andrew T Mills
Jamie & Julia Korner Simon & Fiona Mortimore
Rose & Dudley Leigh John Nickson & Simon Rew
Drs Frank & Gek Lim Mr James Pickford
Nicholas & Felicity Lyons Michael & Carolyn Portillo
Mr David Russell
Colin Senneck & the Hartley and
District LPO Group
Nigel Silby
Mr Brian Smith
Martin & Cheryl Southgate
Mr & Mrs G Stein
Dr Peter Stephenson
Mr Ian Tegner
Dr June Wakefield
Howard & Sheelagh Watson
Roger Woodhouse
Mr John Wright
Supporters
Anonymous donors
Ralph & Elizabeth Aldwinckle
Alexander & Rachel Antelme
Julian & Annette Armstrong
Lindsay Badenoch
Mr Mark Bagshaw & Mr Ian
Walker
Mr John Barnard
Mr John D Barnard
Damaris, Richard & Friends
Mr David Barrett
Diana Barrett
Mr Simon Baynham
Nick & Rebecca Beresford
Mr Paul Bland
Mr Keith Bolderson
Mr Andrew Botterill
Julian & Margaret Bowden & Mr
Paul Michel
Richard & Jo Brass
Mr & Mrs Shaun Brown
Mr Alan C Butler
Lady Cecilia Cadbury
Mrs Marilyn Casford
Alison Clarke & Leo Pilkington
J Clay
Mr Joshua Coger
Mr Martin Compton
Mr Martin Connelly
Mr Stephen Connock
Miss Tessa Cowie
Mr David Davies
Mr Roderick Davies
Mr David Devons
Anthony & Jo Diamond
Miss Sylvia Dowle
Mr Andrew Dyke
Mr Declan Eardly
Mrs Maureen Erskine
Mr Peter Faulk
Mr Joe Field
Ms Chrisine Louise Fluker
Mr Kevin Fogarty
Mr Richard France
Mr Bernard Freudenthal
Mrs Adele Friedland & Friends

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 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle
Will Gold
Mrs Alison Goulter
Mr Andrew Gunn
Mr K Haines
Mr Martin Hale
Roger Hampson
Mr Graham Hart
Mr & Mrs Nevile Henderson
The Jackman Family
Mr Ian Kapur
Martin Kettle
Mr Justin Kitson
Ms Yvonne Lock
Mrs Sally Manning
Belinda Miles
Dr Joe Mooney
Christopher & Diane Morcom
Dame Jane Newell DBE
Oliver & Josie Ogg
Mr Stephen Olton
Mr David Peters
Nadya Powell
Ms Caroline Priday
Mr Richard Rolls
Mr Richard Rowland
Mr & Mrs Alan Senior
Tom Sharpe
Mr Kenneth Shaw
Ruth Silvestre
Barry & Gillian Smith
Mr David Southern
Ms Mary Stacey
Mr Simon Starr
Mrs Margaret Thompson
Philip & Katie Thonemann
Mr Owen Toller
Mrs Rose Tremain
Ms Mary Stacey
Ms Caroline Tate
Mr Peter Thierfeldt
Dr Ann Turrall
Michael & Katie Urmston
Dr June Wakefield
Mr Dominic Wallis
Mrs C Willaims
Joanna Williams
Mr Kevin Willmering
Mr David Woodhead
Hon. Benefactor
Elliott Bernerd
Hon. Life Members
Alfonso Aijón
Kenneth Goode
Carol Colburn Grigor CBE
Pehr G Gyllenhammar
Robert Hill
Mrs Jackie Rosenfeld OBE
Laurence Watt
Thank you
LPO International Corporate Donors Trusts and Foundations
Board of Governors Barclays The Boltini Trust
CHANEL Fund for Women in the Borrows Charitable Trust
Natasha Tsukanova Chair
Arts and Culture Boshier-Hinton Foundation
Steven M. Berzin (USA)
Pictet Bank The Candide Trust
Veronika Borovik-Khilchevskaya
Cockayne – Grants for the Arts
(Cyprus)
The London Community
Marie-Laure Favre Gilly de LPO Corporate Circle Foundation
Varennes de Bueil (France)
Leader The David Solomons Charitable
Aline Foriel-Destezet (France)
Trust
Irina Gofman (Russia) freuds
The D’Oyly Carte Charitable Trust
Countess Dominique Loredan Sunshine
Dunard Fund
(Italy)
Ernst von Siemens Music
Olivia Ma (Greater China Area)
Principal Foundation
Olga Makharinsky (Russia)
Berenberg The Fidelio Charitable Trust
George Ramishvili (Georgia)
Bloomberg Foyle Foundation
Victoria Robey OBE (USA)
Carter-Ruck Garrick Charitable Trust
Jay Stein (USA)
French Chamber of Commerce The Leche Trust
Lucille Graham Trust
Thomas Beecham Tutti John Horniman’s Children’s Trust
John Thaw Foundation
Group Members Lazard
The Idlewild Trust
Russo-British Chamber of
Chris Aldren Kirby Laing Foundation
Commerce
David & Yi Buckley Adam Mickiewicz Institute
Walpole
Gill & Garf Collins PRS Foundation
William & Alex de Winton The Radcliffe Trust
Sonja Drexler Trialist Rivers Foundation
The Friends of the LPO Allianz Musical Insurance The R K Charitable Trust
Irina Gofman Romanian Cultural Institute
Roger Greenwood Rothschild Foundation
Dr Barry Grimaldi Preferred Partners RVW Trust
Mr & Mrs Philip Kan Gusbourne Estate Schroder Charity Trust
John & Angela Kessler Lidl Serge Rachmaninoff Foundation
Countess Dominique Loredan Lindt & Sprüngli Ltd Souter Charitable Trust
Sir Simon Robey London Orthopaedic Clinic The Stanley Picker Trust
Victoria Robey OBE Steinway The Thomas Deane Trust
Bianca & Stuart Roden The Thriplow Charitable Trust
Caroline, Jamie & Zander Sharp The Vaughan Williams Charitable
Julian & Gill Simmonds In-kind Sponsor Trust
Eric Tomsett The Victoria Wood Foundation
Google Inc
Neil Westreich The Viney Family
Guy & Utti Whittaker The Barbara Whatmore Charitable
Trust
We are grateful to the Board The William Alwyn Foundation
of the American Friends of the
London Philharmonic Orchestra, and all others who wish to remain
who assist with fundraising for anonymous.
our activities in the United States
of America: The LPO would also like to
Simon Freakley Chairman
acknowledge all those who have
made donations to the Play On
Jay Goffman Appeal and who have supported
Alexandra Jupin the Orchestra during the
William A. Kerr
Kristina McPhee
COVID-19 pandemic.
Natalie Pray
Damien Vanderwilt
Elizabeth Winter
Victoria Robey OBE
Hon. Director
Jenifer L. Keiser, CPA,
EisnerAmper LLP
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 London Philharmonic Orchestra • 6 November 2021 • In Bluebeard’s Castle

London Philharmonic Orchestra Administration

Board of Directors Julian Simmonds Finance Harrie Mayhew

Barry Smith Website Manager
Victoria Robey OBE Chairman Frances Slack
Martin Southgate Gavin Miller
Martin Höhmann* President Finance Director
Chris Viney Box Office Manager
Dr Catherine C. Høgel Dayse Guilherme
Laurence Watt
Vice-Chairman Finance Manager Ruth Knight
Elizabeth Winter
Henry Baldwin* Press and PR Manager
Vice-President Jean-Paul Ramotar
General Administration Finance and IT Officer Sophie Harvey
Kate Birchall*
Digital and Residencies
David Buckley Elena Dubinets
Education and Marketing Manager
David Burke Artistic Director
Bruno De Kegel Community Greg Felton
David Burke
Deborah Dolce Digital Creative
Chief Executive Talia Lash
Tanya Joseph Kiera Lockard
Chantelle Vircavs Interim Education and
Hugh Kluger* Marketing Assistant
PA to the Executive Community Director
Al MacCuish
Tania Mazzetti* Rebecca Parslow
Concert Management Education and Community Archives
Stewart McIlwham*
Jamie Njoku-Goodwin Roanna Gibson Project Manager Philip Stuart
Andrew Tusa Concerts Director Discographer
Hannah Foakes
Mark Vines* Graham Wood Tilly Gugenheim Gillian Pole
Neil Westreich Concerts and Recordings Education and Community Recordings Archive
Simon Freakley (Ex officio – Manager Project Co-ordinators
Chairman of the American
Fabio Sarlo
Professional Services
Friends of the London
Glyndebourne and Projects Development Charles Russell Speechlys
Philharmonic Orchestra)
Manager Laura Willis Solicitors
*Player-Director Development Director
Grace Ko Crowe Clark Whitehill LLP
Tours Manager Vicky Moran Auditors
Advisory Council Development Events
Alison Jones Dr Barry Grimaldi
Martin Höhmann Chairman Manager Honorary Doctor
Concerts and Recordings
Robert Adediran
Co-ordinator Stef Woodford Mr Chris Aldren
Christopher Aldren
Christina Perrin Corporate Relations Manager Honorary ENT Surgeon
Dr Manon Antoniazzi
Roger Barron Concerts and Tours Assistant Rosie Morden Mr Brian Cohen
Richard Brass Matthew Freeman Individual Giving Manager Mr Simon Owen-Johnstone
Helen Brocklebank Recordings Consultant Anna Quillin Hon. Orthopaedic Surgeons
Simon Callow CBE Trusts and Foundations
Andrew Chenery
Desmond Cecil CMG Manager London Philharmonic
Orchestra Personnel
Sir Alan Collins KCVO CMG Orchestra
Manager Priya Radhakrishnan
Andrew Davenport 89 Albert Embankment
Sarah Thomas Georgia Wiltshire
Guillaume Descottes London SE1 7TP
Martin Sargeson Development Assistants
Cameron Doley Tel: 020 7840 4200
Christopher Fraser OBE Librarians Box Office: 020 7840 4242
Nick Jackman
Lord Hall of Birkenhead CBE Laura Kitson Email: admin@lpo.org.uk
Campaigns and Projects
Jonathan Harris CBE FRICS Stephen O’Flaherty lpo.org.uk
Director
Marianna Hay MBE Stage Managers Cover photo James Wicks
Amanda Hill Kirstin Peltonen
Damian Davis 2021/22 season identity
Rehmet Kassim-Lakha Development Associate
Transport Manager JMG Studio
Jamie Korner Printer John Good Ltd
Geoff Mann Felix Lo Marketing
Clive Marks OBE FCA Orchestra and Auditions
Manager Kath Trout
Stewart McIlwham Marketing and
Andrew Neill Communications Director
Nadya Powell
Sir Bernard Rix Mairi Warren
Victoria Robey OBE Marketing Manager
Baroness Shackleton Rachel Williams
Thomas Sharpe QC Publications Manager

16